Untitled (Miller House, #02)
2002 - Photography (Photography)
Luisa Lambri
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns. Rather than a distanced view of the overall structure—favored by modernist architectural photographers like Julius Shulman—Lambri instead works from the inside, focusing on Saarinen’s windows and the soft, even light. The resulting image is a poetic abstraction, an architectural photograph that yields not only a picture of a building, but suggests what it actually feels like to be in that architectural space.
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light. The architect’s longtime studio and residence, which he built in Los Angeles in 1922, exemplifies this philosophy, and has since become an influential part of the modernist architectural canon. In Untitled (Schindler House #01) (2007), Luisa Lambri describes Schindler’s studio by capturing its aftereffects—the play of light and shadow cast through branches onto a surface. The photograph is an ethereal portrait of Schindler’s work and ethos, evoking the building without actually depicting its concrete slabs and untreated wood.
Colors:
Related works sharing similar palette
© » KADIST
Ben Kinmont
2004The archive proposes to examine the difference between helping others in the context of an artistic project and in the context of social work in order to question authorship...
© » KADIST
An ever-growing collection of scripts, ideas and works by: Julieta Aranda, Olivier Babin, Francisco Camacho, Derick Carner, Asli Cavusoglu, Etienne Chambaud, Audrey Cottin, Torreya Cummings, Gintaras Didziapetris, Cerith Wyn Evans, Michael Fliri, Mark Geffriaud, Fabien Giraud & Raphaël Siboni, Loris Gréaud, Graham Gussin, Will Holder, Pierre Huyghe, Joachim Koester, Gabriel Lester, Jennifer Di Marco, Patrizio Di Massimo, Nicholas Matranga & Francesca Bennet, Piero Passacantando, Cesare Pietroiusti, Matthew Shannon, Snowden Snowden, Gareth Spor, Maryelizabeth Yarbrough, Carey Young...
© » KADIST
Roman Ondak
2003As the caption purposely admits, these drawings were made by friends of Ondák’s at home in Slovakia asked to interpret places he has journeyed to...
© » KADIST
Phan Quang
2013Phan Quang’s portrait series Re/cover grapples with a lesser-known history in Vietnam...
© » KADIST
Oded Hirsch
2012Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
© » KADIST
Ahmet Ögüt
2022Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers...
© » ASX
Maude Arsenault – Resurfacing – AMERICAN SUBURB X Skip to content Her work invests the themes of female representation, private space, domesticity and intimacy within the framework of a photographic and material approach which oscillates between abstract compositions, self-portraits, landscapes and images documentaries...
© » KADIST
Thomas Kilpper
2009These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin...
© » KADIST
Christian Jankowski
2008In New York City’s Chinatown, subject Suat Ling Chua’s morning exercise is to practice the hula hoop...
© » NYTIMES LENS
At 90, Photographer Fred Baldwin Still Has ‘So Much Work Left to Do’ - The New York Times Lens | At 90, Photographer Fred Baldwin Still Has ‘So Much Work Left to Do’ https://www.nytimes.com/2019/05/29/lens/fred-baldwin-photography.html Give this article Share Advertisement Continue reading the main story Fred Baldwin reckons he could have become a writer — if the manual Olivetti typewriter he used while studying at Columbia in 1955 had spell-check...